Top Five Favorite Episodes of “THE CROWN” Season One (2016)

Below is a list of my favorite episodes from Season One of the Netflix series, “THE CROWN”. Created by Peter Morgan, the series starred Claire Foy and Matt Smith as Queen Elizabeth II and Philip, Duke of Edinburgh: 

TOP FIVE FAVORITE EPISODES OF “THE CROWN” SEASON ONE (2016)

1. (1.02) “Hyde Park Corner” – Due to King George VI’s poor health, Princess Elizabeth and her husband Philip, Duke of Edinburgh embark upon a tour of the Commonwealth on his behalf. However, a family tragedy forces the couple to end their tour in Kenya and return home to Britain.

2. (1.05) “Smoke and Mirrors” – This episode focuses on the death of Queen Mary, Queen Elizabeth II’s grandmother and on her own coronation over two months later. Meanwhile, the Queen’s uncle, the Duke of Windsor, clashes with her private secretary, Tommy Lascelles, after being asked not to attend the coronation.

3. (1.08) “Pride & Joy” – While Elizabeth and Philip embark upon a stressful Commonwealth tour in 1954, the Queen’s younger sister Princess Margaret takes on more royal engagements, much to the consternation of Prime Minister Winston Churchill.

4. (1.07) “Scientia Potentia Est” – While the Soviet Union tests their new H-bomb, both Prime Minister Churchill and Deputy Prime Minister experience major health crisis, unbeknownst to the Queen. Meanwhile, she becomes aware of her limited education and hires a tutor.

5. (1.06) “Gelignite” – When Princess Margaret and her divorced lover, Peter Townsend, ask Elizabeth’s permission to get married, the latter promises to give her support. Unfortunately, Private Secretary Lascelles and the Queen Mother advise against supporting the marriage.

 

Advertisements

Five Favorite Episodes of “THE MUSKETEERS” Season Two (2015)

Below is a list of my five favorite episodes from Season Two of “THE MUSKETEERS”, the BBC’s historical action-drama based on Alexandre Dumas, père’s 1844 novel. Created by Adrian Hodges, the series stars Tom Burke, Santiago Cabrera, Howard Charles and Luke Pasqualino:

FIVE FAVORITE EPISODES OF “THE MUSKETEERS” SEASON TWO (2015)

1. (2.07) “A Marriage of Inconvenience” – In this episode, France’s premier minister and former spy, Comte de Rochefort, uses an assassin to kill of members of King Louis XIII’s council and advance his position at court; while he learns the truth about Queen Anne’s past relationship with Musketeer Aramis.

2. (2.10) “Trial and Punishment” – In the season finale, Musketeers Athos and d’Artagnan rescue Constance from the executioner’s sword; and with Treville they help Porthos to capture the Spanish spymaster Vargas. Meanwhile, Louis has signed Anne’s death warrant, leading to a confrontation between Rochefort and the Musketeers.

3. (2.02) “An Ordinary Man” – Wanting to experience the life of an ordinary citizen, the King Louis accompanies the Musketeers on the streets of Paris . . . before he and Musketeer d’Artagnan are kidnapped by slave traders.

4. (2.09) “The Accused” – After being rebuffed by the Queen, Rochefort produces a fake letter from her to her brother, the King of Spain, in an effort to frame her for treason. Meanwhile; the royal physician, Dr. Lemay and the Queen’s aide, Constance Bonacieux; are implicated in an attempt to poison the King.

5. (2.03) “The Good Traitor” – An ex-general from the Spanish army arrives in Paris to plead for help in rescuing his daughter, held by Spanish agents in Paris; in exchange for a coded formula and cypher machine of a deadly new gunpowder that the Spanish also want.

“AT BERTRAM’S HOTEL” (2007) Review

tumblr_lihhfeTKAI1qh2v46o1_500

 

“AT BERTRAM’S HOTEL” (2007) Review

Not long ago, I had written a review of an Agatha Christie television movie called “AT BERTRAM’S HOTEL”. It was a 1987 adaptation of the writer’s 1965 novel. Twenty years later, ITV aired its own version that starred Geraldin McEwan as Miss Jane Marple. 

But I am not interested in comparing the two adaptations. Instead, I want to discuss only one of them – the recent 2007 televised film. The movie began with a flashback to the early 1890s in which a young Jane Marple stayed at the fashionable London hotel, Bertram’s, with a relative. Sixty years later, the elderly resident of St. Mary Mead’s pay another visit to the hotel and discovers that its interior has not really changed over the years. Miss Marple is there She is there to meet an old friend named Lady Selina Hazy, who is visiting for the reading of a will of her millionaire second cousin, who had been declared dead after being missing for seven years and owned Bertram’s. Also there for the reading of the hotel owner’s will are his ex-wife Bess, Lady Sedgwick; and daughter Elvira Blake. Bertram’s Hotel also seemed to be used as a center to smuggle Nazi war criminals and their stolen treasure; and for jewel thieves.

Christie’s 1965 novel is not considered one of her stronger ones and I can see why. The story’s murder mystery is rather weak and easy to solve. They mystery behind the hotel proved to be more interesting. The 1987 television movie with Joan Hickson as Miss Marple closely followed the novel. Despite a sluggish pacing, it still proved to be entertaining. Screenwriter Tom McRae decided to “solve” the matter of Christie’s narration by “improving” it with major changes. And you know what? It sucked. Big time. Without a doubt, “AT BERTRAM’S HOTEL” – at least this 2007 version – is one of the worst Christie adaptations I have ever seen. Period.

One of the first sentences that Miss Marple observes when she arrives at Bertam’s after many years is that the hotel had not changed . . . even after sixty years. And yet that was NOT the impression I encountered. In Christie’s novel and the 1987 film, the elderly sleuth noticed that the hotel’s quiet and elegant atmosphere had remained intact after many years. I NEVER got that impression in this 2007 film . . . certainly not with the noisy bustling going on upon her arrival. To make matters worse, McRae’s script had Louis Armstrong and his band break out into a jam session in one of the hotel’s ballroom. He is joined by one of the writer’s fictional characters, an American-born black jazz singer Amelia Walker. WTF????? I cannot image Louis Armstrong staying at some quaint little London hotel like Bertram’s. The screenplay also had the Lady Sedgwick character receiving clumsily written death threats, Nazi war criminals and their hunters disguised as hotel guests. The screenplay even featured an extra murder victim – a hotel maid named Tilly Rice. It also made the actual murder of Bertram’s commissionaire a lot more complicated than necessary. And to make matters even more worse, McRae added another maid character named Jane Cooper, who becomes a younger version of Miss Marple – another talented amateur sleuth. And she acquired a love interest of her own – an Inspector Larry Byrd, a World War II veteran with post-traumatic stress. He also replaced the much older Chief Inspector Fred Davy character, as the story’s main police investigator. The screenplay allowed the young Miss Cooper to reveal most of the hotel’s mysteries before Miss Marple exposed the actual killer.

I do not mind if changes were made to Christie’s story. I can think of a good number of Christie adaptations in which changes were made to her original novels and ended up being well-made movies. But I feel that those changes needed to be well-written or be necessary as an improvement to the author’s original tale. “At Bertram’s Hotel” was not a perfect or near-perfect novel. But the changes made for this particular adaptation did not improve the story. On the contrary, the changes made for “AT BERTRAM’S HOTEL” transformed Christie’s rather eccentric tale into one big convoluted mess. The only positive change that emerged in this adaptation was a shorter running time of ninety-three (93) minutes. Thanks to this shorter running time, “AT BERTRAM’S HOTEL” managed to avoid the occasionally sluggish pacing of the 1987 movie.

The performances in “AT BERTRAM’S HOTEL” proved to be a mixed bag. I had nothing against Geraldine McEwan’s portrayal of the quiet, yet intelligent Miss Jane Marple. She was her usual more than competent self. I enjoyed her performance so much that I wish that the screenplay had not seen fit to saddle her with the Jane Cooper character. Yes, I hated the idea of another amateur sleuth in this tale. But I must admit that Martine McCutcheon gave a very good performance as Jane. But the producers of “AGATHA CHRISTIE’S MISS MARPLE” want another amateur sleuth that badly, create another series for her . . . or him. Francesca Annis managed to rise above the material given to her and gave a very funny and entertaining performance as Miss Marple’s old friend, Lady Selina Hazy. However, why do most or all of Miss Marple friends tend to look more glamorous . . . and older than her? Stephen Mangan gave a solid and intense performance as Inspector Larry Byrd. More importantly, he managed to portray a post-traumatic stress victim without engaging in excessive acting. I was not particularly thrilled by McRae and director Dan Zeff’s changes to the Lady Sedgwick character. They replaced Christie’s vivacious and elegant socialite/adventuress into a hard-nosed and somewhat cold businesswoman. However, I cannot deny that actress Polly Walker gave a more than competent performance as Lady Sedgwick, despite the changes to the character.

Naturally, there were the performances that either failed to impress me, or I found troubling. I was not that impressed by Emily Beecham’s portrayal of the young Elvira Blake. I simply found it unmemorable. I can say the same for Mary Nighy’s portrayal of Elvira’s friend, Brigit Milford; Vincent Regan’s performance as hotel commissionaire Mickey Gorman; Nicholas Burns’ portrayal of twin brothers Jack and Joel Britten; and Charles Kay as one Canon Pennyfather, who struck me as a dull and stuffy character. Ed Stoppard portrays a Polish race car driver named Malinowski, who is suspected by many of being a former Nazi. He gave a pretty good performance, although there were a few moments when he dangerously veered into hammy acting. The role of Amelia Walker proved to be singer Mica Paris’ second and (so far) last dramatic role. Mind you, she gave a pretty good performance, but the moment she opened her mouth, I immediately knew she was not an American. I found her accent rather exaggerated at times. I have always been impressed by Peter Davidson in the past. But I must admit that I did not care much for his portrayal of hotel employee Hubert Curtain. I found it unnecessarily exaggerated . . . especially in one scene.

What else can I say? “AT BERTRAM’S HOTEL” does featured a good deal of atmosphere. Unfortunately, it struck me as the wrong kind of atmosphere for this particular story. And some of the good performances featured in this movie – especially by Geraldine McEwan, Francesca Annis and Polly Walker – could not save the movie from the shabby screenplay written by Tom MacRae. Honestly, I found the whole thing a mess. I only hope that there will be a better written adaptation some time in the future.

“UPSTAIRS, DOWNSTAIRS” – Series Two (2012) Retrospective

 

 

 

“UPSTAIRS, DOWNSTAIRS” – SERIES TWO (2012) Retrospective

Poor “UPSTAIRS, DOWNSTAIRS”. Poor Jean Marsh. I am saying this out of pure pity and disappointment. Poor “UPSTAIRS, DOWNSTAIRS”. This revival of the old 1970s series really got the shaft from not only the viewers, but critics and one member from its Series One cast. And I feel that it did not deserve its fate. 

What fate am I referring to? After the BBC aired the third episode from Series Two of “UPSTAIRS, DOWNSTAIRS”, it announced the cancellation of the series after two seasons. Why? Poor ratings and poor reviews. How did it come to this? One could blame Jean Marsh and Heidi Thomas for producing and writing a poorly conceived second season. The problem for me is that I do not view Season Two of “UPSTAIRS, DOWNSTAIRS” as poorly conceived and written. In fact, I consider this second season superior to the first. I also consider it equal to the first season of “DOWNTON ABBEY” and better than its second one (I have yet to see Series Three). But I doubt that the BBC or anyone else would agree with me or care over what I have to say. “UPSTAIRS, DOWNSTAIRS” got cancelled and there is nothing I can do about it, but accept its fate.

Series Two endured a good deal of problems before the cast was ready to shoot its six episodes. One, actress Eileen Atkins publicly expressed her unhappiness with her character, Maud Lady Holland, and her decision not to return for the second season. Both Atkins and Jean Marsh had served as co-creators of both the original series and the recent one. I believe that she had every right to make this decision. Unfortunately, her announcement not only tattered the series’ reputation, but also kept viewers away and ruined her long friendship with Marsh. And in the end, the majority of viewers and critics paid more attention to Atkins, leading toward bad ratings and cancellation by the BBC. When Atkins dropped out of the series, both Marsh and Thomas raced to find a replacement. In the end, they hired Alex Kingston to portray Dr. Blanche Mottershead, Lady Holland’s much younger half-sister and aunt to Sir Hallam Holland. Then disaster struck again when Marsh suffered a minor stroke. The actress recovered long enough for minor appearances as housekeeper Rose Buck in two episodes. Despite these setbacks, Thomas managed to produce six episodes for this second series.

Series Two of “UPSTAIRS, DOWNSTAIRS” focused on the last year before the outbreak of World War II – between September 1938 and September 1939. Sir Hallam Holland’s career with the Foreign Office no longer brings him pleasure, due to the Establishment and the public’s reluctance to consider a war against Nazi Germany. The latter demands control of the Sudetenland in Czechoslovakia. Only Hallam and a few others like his superior Sir Anthony Eden are against the idea of appeasing to the Germans in order to avoid another war – including the former’s wife, Lady Agnes Holland. The latter has no problems with supporting her husband’s career, but like many others, support the idea of appeasement. Mind you, Lady Agnes is dealing with the difficult birth of a second child and the news that she can longer carry a baby to full confinement. Lady Agnes’ younger sister, Lady Persephone Towyn, is still living in Germany, socializing with top-ranking Nazi politicians and military officers. But an unwanted pregnancy and the violence of the Kristallnacht forces Lady Persephone to seek help from her sister and brother-in-law to get her back to Britain. Following the death of Maud, Lady Holland; Sir Hallam’s aunt – an archaeologist named Dr. Blanche Mottershead – arrives to deal with her half-sister’s belongings. When she decides to remain with the Hollands to help raise her mentally challenged niece, Lotte Holland; a secret involving a past relationship threatens her reputation within high society. Along with Prince George, Duke of Kent, the series also featured the real life personages of Joseph, Rose and John Kennedy.

The second series also began with the arrival of a new servant in the Holland household named Beryl Ballard. Chauffeur Harry Spargo becomes attracted to her and commences upon a difficult campaign to win her love. Meanwhile, Rose Buck, the Hollands’ housekeeper, is confined to a sanatorium after contracting tuberculosis. Her absence creates a hole in the servants’ hierarchy and a clash of wills between the butler Warwick Pritchard and the cook Claire Thackeray. Their clash will temporarily lead Mrs. Thackeray to consider leaving service and expose a secret of Mr. Pritchard regarding his World War I experiences, which will affect his private life before the end of the series. Lady Holland’s secretary, Amanjit Singh struggles to establish a livelihood, following his employer’s death. Footman Johnny Proude is encouraged by Harry to consider a minor career as an amateur boxer and the household’s maids – Eunice McCabe and Beryl – struggle to deal with Lady Agnes’ demands.

I still believe that this second series was better than the first. But it was not perfect. I did not mind that some of the series’ story arcs did not last longer than one episode. A good example of this was Mrs. Thackeray’s decision to leave her employment at 165 Eaton Place to live with her nephew. It was a pleasant, yet interesting story. But I was not disappointed that it merely lasted one episode. There were two story arcs that could have lasted beyond one episode. One of them, “A Perfect Specimen of Womanhood” centered around the revelation of Blanche Mottershead’s lesbian relationship with Lady Portia Alresford. Unfortunately, the following episodes merely revealed Blanche’s banishment from “Society” through dialogue. The audience never really got to experience her social downfall on the screen. In the fourth episode, “All the Things You Are”, Mr. Amanjit meets with the teacher of the late Rachel Perlmutter’s daughter, Lotte, in a London tea shop. Although a waitress led them to a decent table, a snotty maitre’d coolly asks them to move to another table near the back of the tea shop. Aside from the Hollands’ servants initial cool response to Mr. Amanjit in Series One, the Indian-born secretary had never encountered any on-screen racism . . . until this scene. It felt . . . out of the blue. Nor was it ever fully explored or referred to again. I feel that Heidi Thomas could have done a lot more in portraying any racism that Mr. Amanjit may have encountered during the television series’ two season run.

Many of the fans had complained about the adulterous affair between Sir Hallam Holland and his fascist sister-in-law Lady Persephone (“Persie”) Towyn. When I first heard about it, I found the idea of an affair between them hard to believe. But after viewing Series Two, I realized that I had only one complaint about the affair – namely that it did not last long enough. After spending two episodes of developing a close and friendly relationship, Hallam and Persie finally dived into a sexual affair by the end of “All Things You Are”. The affair spanned nearly all of the fifth episode, “The Last Waltz”, until Hallam stumbled across a revelation that Persie might be using him for nefarious reasons at the end of that episode. Frankly, I wish their affair had lasted a little longer than one episode. I feel this expansion in running time would have served the story arc a little better. The episode also featured one death – a suicide. And to be honest, I thought Heidi Thomas’ direction of the moment seemed more anti-climatic than dramatic.

One of the aspects of “UPSTAIRS, DOWNSTAIRS” that I like more than “DOWNTON ABBEY” is the portrayal of the relationship between the Hollands and their servants. Yes, the series featured at least two servants that seemed blindingly loyal to the Hollands – Mr. Pritchard and Rose Buck. But Rose spent most of this series in a tuberculosis sanatorium. In an odd way, the series benefited from Rose’s absence and focused even more on the other servants. Both Beryl Ballard and Eunice McCabe were constantly switching roles as Lady Agnes’ personal maid and nurse maid to the Hollands’ children. And both discovered that the socialite could be very demanding in regard to tasks and lack of any real appreciation for their hard work. In the end, Beryl resorted to recruiting help for their situation from the Girls’ Friendly Society, an employment service that upper-class women use to find female servants. Mr. Amanjit also clashed with Blanche over the deceased Lady Holland’s belongings early in the series, until both learned to work together, while helping with refugees from Nazi Germany. The most interesting clash between servant and employer manifested between Sir Hallam and Harry Spago. This clash came from Harry and Beryl’s matrimony plans and desire to emigrate to the United States. Sir Hallam expressed outrage over Harry’s desire to leave Britain, instead of face military service in the upcoming world war. Angry over Hallam’s self-righteous refusal to help him emigrate, Harry blackmailed his employer with his knowledge about the latter’s affair with Lady Persie. Even Beryl’s conflict with Lady Agnes played a role in the two men’s conflict.

But the series also featured conflict between servants and conflicts within the Holland family. Thomas wrote an excellent portrayal of Sir Hallam’s disappointment over Britain’s appeasement policy with Germany and Lady Agnes’ current inability to have more children. This disappointment with his country, the Foreign Office and his marriage eventually led to a friendship and later affair with Lady Persie. Many fans complained that the idea of the moderately liberal Hallam and a fascist like Persie having an affair – especially since they did not seem particularly friendly toward one another. But Thomas skillfully conveyed how helping Persie deal with an unwanted pregnancy, along with jealousy over Lady Agnes’ friendship with a wealthy American named Caspar Landry led him to drift into an affair with his volatile sister-in-law. The Hallan-Persie affair also had an effect on Harry and Beryl’s romance and plans for emigration to the U.S., along with Lady Agnes’ friendship with Landry, which had the potential to develop into a healthy romance. Another strong story arc that stood above the others proved to be Mr. Pritchard’s secret regarding his experiences during World War I. The other servants discovered in the first episode, “A Faraway Country About Which We Know Nothing”, that the butler had opposed military service in the war as conscientious objector. Although this seemed to be a rip off from the Alan Bates story arc from the 2001 movie, “GOSFORD PARK”, Heidi Thomas explored the issue with more depth and skill in “UPSTAIRS, DOWNSTAIRS”. Mr. Pritchard’s secret not only created a bitter feud between the butler and Mrs. Thackeray (who had lost a husband) and Mr. Amanjit (a veteran of the war), but would also have a negative impact on his personal life in the last two episodes.

“UPSTAIRS, DOWNSTAIRS” featured some fine performances from the likes of Art Malik, Alex Kingston, Emilia Fox (as Blanche’s lover), Ellie Kendrick, Nico Mirallegro, Anne Reid, Keeley Hawes and Michael Landes. But there were performances that stood out for me. One came from Blake Ritson’s entertaining performance as Prince George, Duke of Kent. He really was entertaining, especially in the servants’ ball sequence. Another first-rate performance came from Ed Stoppard, who impressed me by his portrayal of Sir Hallam’s emotional crisis. Both Neil Jackson and Laura Haddock really made me care about the fates of Harry Spago and Beryl Ballard, thanks to their poignant performances. And Claire Foy did an excellent job of taking Lady Persie Towyn’s complex character to another level. For me, the best performance came from Adrian Scarborough, who did an excellent job in his portrayal of Warwick Pritchard. He especially stood out in the first, fifth and last episodes.

Looking back on Series Two of “UPSTAIRS, DOWNSTAIRS”, it occurred to me that it came off as somewhat darker than the first series. The series found some of the characters socially ostracized – briefly or otherwise, or enduring some kind emotional crisis. Its portrayal of the relationships between employers and servants struck me as somewhat more realistic than similar portrayals in “DOWNTON ABBEY”. The series also featured a poignant wedding, the end of a marriage – at least emotionally – and a suicide. And the series ended with the loud wail of a siren signaling the beginning of a devastating world war. It is a pity that the BBC decided to end the series. I would have given my right arm to learn of the surviving characters’ fates. Both Harry Spago and Johnny Proude found themselves recruited into the army. Sir Hallam resigned from the Foreign Office, due to the political disaster spawned from his affair with Lady Persie and became a royal equerry for the Duke of Kent (who died in a plane crash in 1942). And Lady Agnes said good-bye to Caspar Landry before sending her children and Rose Buck to the country for safety. Oh well. At least the series ended on an artistic note higher than it began. I am a fan of Eileen Atkins and I always will be. But I did not miss her, while watching Series Two.

“UPSTAIRS, DOWNSTAIRS” (2010) – Series One Retrospective

 

 

“UPSTAIRS, DOWNSTAIRS” (2010) – SERIES ONE Retrospective

Not long after ITV aired its premiere of Julian Fellowes and Gareth Neame’s successful series, “DOWNTON ABBEY”, the BBC announced its plans to air an updated version of the old 1970s television classic, “UPSTAIRS, DOWNSTAIRS”. The news took me by surprise. I had naturally assumed that the series’ creators Jean Marsh and Eileen Atkins decided to revive the series in response to the news about “DOWNTON ABBEY”. Had I been wrong? I do not know. Did it really matter? I do not think so. 

The new “UPSTAIRS, DOWNSTAIRS” picked up six years following the old series’ finale. The London townhouse at 165 Eaton Place in the Belgravia neighborhood is no longer occupied by any member of the Bellamy family. A Foreign Office diplomat and his wife – Sir Hallam Holland and Lady Agnes Holland – have returned to Britain and inherited the Eaton Place townhouse. The couple hired former parlourmaid Rose Buck, now running her own agency for domestic servants, to find them staff as they renovate the house to its former glory. The Hollands are forced to deal with the arrivals of Sir Hallam’s mother, Maud, Dowager Lady Holland and her Sikh secretary Amanjt Singh; and Lady Agnes’ sister, Lady Persephone Towyn – all of whom cause major stirs within the new household. The three-episode series spanned the year 1936 – covering the death of King George V, the Battle of Cable Street and King Edward VIII’s abdication.

Because it came on the heels of the critical darling, “DOWNTON ABBEY”“UPSTAIRS, DOWNSTAIRS” received a good share of negative criticism from the media and television viewers. And if they were not comparing it to the series written by Julian Fellowes, they were comparing it to the old “UPSTAIRS, DOWNSTAIRS” from the 1970s. Among the negative press it received was a report of a brief clash between Marsh and Fellowes regarding the two series. If I must be honest, I was just as guilty as the others for I had believed the negative press without having seen the series. But my curiosity got the best of me and I decided to watch it.

I did have a few problems with “UPSTAIRS, DOWNSTAIRS”. It had its moments of over-the-top maudlin, courtesy of screenwriter Heidi Thomas. I suppose I should not have been surprised. Thomas had served as screenwriter for 2007’s“CRANFORD” and its 2009 sequel. And she managed to inject plenty of wince-inducing sentiment into those productions, as well. I also found Rose Buck’s hunt for the Hollands’ new staff rather tiresome. It dominated the first half of Episode One, “The Fledgling” and I nearly gave up on the series. And I also found the cook Clarice Thackeray’s encounter with society photographer Cecil Beaton disgustingly sentimental. But . . . the encounter led to one of the best cat fights I have seen on television, so I was able to tolerate it. I have one last problem – namely the series’ three episode running time. Three episodes? Really? I would have given it at least five or six. Instead, the three episodes forced the first series to pace a lot faster than I would have liked.

For me, the virtues of “UPSTAIRS, DOWNSTAIRS” far outweighed the flaws. First of all, I was delighted that Marsh, Atkins and Thomas had decided to set the new series in the 1930s. I have been fascinated with that decade for a long time. It witnessed a great deal of potential change and conflict throughout Europe – including changes within Britain’s Royal Family that had a major impact upon the nation. “UPSTAIRS, DOWNSTAIRS” did an excellent job in conveying how these changes affected ordinary Britons and the Holland household in particular. Many had complained about the strong, political overtones that permeated “UPSTAIRS, DOWNSTAIRS”. I, on the other hand, loved it. The political overtones not only suited the series’ 30s setting but also jibed with the fact that one of the major characters happened to be a diplomat from the Foreign Office, with friendly ties to a member of the Royal Family.

Production wise, “UPSTAIRS, DOWNSTAIRS” looked gorgeous. Designer Eve Stewart did a superb job in re-creating London in the mid-1930s for the series. Along with set decorator Julia Castle, she converted 165 Eaton Place into a wealth of Art Deco eye candy. Amy Roberts’ costumes – especially for Keeley Hawes and Claire Foy – were outstanding and contributed to the series’ 1930s look. My only complaint regarding the series’ production is the series’ theme and score. Quite frankly, the only memorable thing about Daniel Pemberton’s work was that I found it too light for my tastes. It suited Heidi Thomas’ occasional forays into sentimentality very well. Unfortunately.

Not being that familiar with the original “UPSTAIRS, DOWNSTAIRS” series from the 70s, I did not find myself comparing the old cast with the new one. First of all, I thought the new cast did just fine – including the recurring characters. Blake Ritson gave a subtle performance as Prince George, Duke of Kent and youngest living brother to King Edward VIII. I noticed that Thomas took great care to ensure that Ritson’s Duke of Kent would be critical of Wallis Simpson’s pro-Nazi sympathies. I found this interesting, considering of his past reputation as a Nazi sympathizer. Speaking of Mrs. Simpson, I was slightly disappointed by Emma Clifford’s portrayal of the future Duchess of Windsor. The actress portrayed Mrs. Simpson as some kind of negative archetype of American women found in many British productions – gauche and verbose. This portrayal seemed completely opposite of how Mrs. Simpson had been described in the past – cool and tart. Edward Baker-Duly was given a more ambiguous character to portray – namely German ambassador Joachim von Ribbentrop – which allowed him to give a more subtle performance.

I found the casting for the Holland servants very satisfying. Many have complained that Jean Marsh’s role as Rose Buck seemed woefully reduced in compared to the old production. If her role had been reduced, I did not mind. After all, Rose was a familiar figure and I believe it was time for the lesser-known characters to shine. As much as I had enjoyed Adrian Scarborough’s solid yet nervous butler, Mr. Pritchard, and Anne Reid’s tart-tongued cook Clarice Thackeray; I found myself impressed by Neil Jackson’s cool portrayal of the ambiguous chauffeur Harry Spargo. I thought he did a great job in conveying the changing passions of Harry, without resorting to histronics. Ellie Kendrick did an excellent job in her portrayal of the young and very spirited housemaid, Ivy Morris. Although Art Malik seemed a bit noble as the Dowager Lady Holland’s Sikh secretary, Mr. Amanjit, I believe that he managed to come into his own when his character befriended the German-Jewish refugee Rachel Perlmutter in Episode Two, “The Ladybird”. Like Scarborough and Red, Helen Bradbury gave solid performance as Frau Perlmutter. However, there were a few moments when she managed to inject a great deal of pathos into her performance, making it a pity that she only appeared in one episode. Heidi Thomas’ portrayal of the Hollands’ servants really impressed me. She managed to portray them as multi-dimensional characters, instead of the one-dimensional portrayals that marred the characterizations of the servants featured in Series One of “DOWNTON ABBEY”.

Heidi Thomas certainly did a marvelous job with her characterizations of the members of the Holland family. I had noticed that most fans and critics were impressed by Eileen Atkins’ portrayal of the Maud, Dowager Lady Holland. I cannot deny that she did a superb job. Atkins was overbearing, intelligent, wise and impetuous. But . . . the Lady Holland character also struck me as a remake of the Dowager Countess of Grantham character from “DOWNTON ABBEY” . . . who struck me as a remake of the Countess of Trentham character from “GOSFORD PARK”. In other words, the Lady Holland character struck me as being a somewhat unoriginal character. One could almost say the same about the Sir Hallam Holland character, portrayed by Ed Stoppard. Many fans have complained about his “noble” personality and penchant for political correctness – especially in his handling of Lotte, the orphaned daughter of Holland maid, Rachel Perlmutter, and his distaste toward the British Fascist movement. However, Stoppard did an excellent job in making Sir Hallam a flesh-and-blood character. And this came about, due to Stoppard’s opportunity to reveal Sir Hallam’s reaction to the conflict between his mother and wife, making him seem like a bit of a pushover.

But for me, the two most interesting characters in the series proved to be Lady Agnes Holland and Lady Persephone Towyn, the two daughters of an impoverished Welsh peer. In their unique ways, the two sisters struck me as very complex and ambiguous. At first glance, Keeley Hawes’ portrayal of Lady Agnes Holland seemed like a cheerful, slightly shallow woman bubbling with excitement over establishing a new home in London. Hawes’ performance, along with Thomas’ script, even managed to inject some pathos into the character after the revelations about Lady Agnes’ past failures to maintain a successful pregnancy. But once her mother-in-law and rebellious sister became a permanent fixture in her house, the cracks in Lady Agnes’ personality began to show. Thanks to Hawes’ superb performance, audiences were allowed glimpses into the darker side of Lady Agnes’ personality. After watching Series One of “UPSTAIRS, DOWNSTAIRS”, many would view Lady Agnes’ younger sister – Lady Persephone – as the series’ villain. And she seemed so perfect for the role, thanks to Claire Foy’s brilliant performance. Her Lady Persephone was a vain, arrogant and temperamental bitch, who treated the Hollands’ staff like dirt – save for Harry Spago, with whom she conducted an affair. At first, it seemed that Harry managed to bring out Lady Persephone’s softer side, especially in her ability to emphasize with his woes regarding the country’s social system. Harry also introduced her to the British Fascist movement. But whereas he ended up finding it repellent, Lady Persephone became even more involved . . . to the point that she developed a relationship with the German ambassador, Joachim von Ribbentrop, before following him back to Germany.

I am not going to pretend that the new “UPSTAIRS, DOWNSTAIRS” is an exceptional series. Because I do not think that it is. Basically, it is simply a continuation of the old series from the 1970s. I thought that its running time was ridiculously short – three episodes. It could have benefited from at least two or three more episodes. And screenwriter Heidi Thomas marred it even further with a good deal of over-the-top sentimentality, especially in the first and third episodes. However, Thomas managed to tone down that same sentimentality in the characters. Nor she follow Julian Fellowes’ mistake in“DOWNTON ABBEY” by portraying the servants as one-dimensional characters. And the cast, led by Ed Stoppard and Keeley Hawes, were first rate. But what really worked for me was the 1930s setting that allowed Thomas to inject the political turmoil that made that era so memorable. I only hope that Thomas will continue that setting in the second series.“UPSTAIRS, DOWNSTAIRS” may not have been perfect, but I believe it was a lot better than a good number of critics and fans have deemed it.